Written during the summer of 1875, Antonín Dvorák's Symphony No. 5 in F Major, Op. 76 is considered the first work in which Dvorák found his way to a new symphonic idiom. It's noticeable inflections of Bohemian folklore, accompanied by almost Schubertian phrases, infuse the symphony with light and give it buoyancy. Two of Dvorák's many one-movement orchestral pieces, In Nature´s Realm Op. 91 and the Scherzo capriccioso Op. 66, serve as considerable, substantial encores. Karel Mark Chichon (OBE) is Chief Conductor of the Deutsche Radio Philharmonie Saarbru¨cken Kaiserslautern.

For its second album on Chandos, the young Ferio Saxophone Quartet presents a set of unique arrangements of milestones from the baroque repertoire, from Corelli via Bach to Handel. Including many premiere recordings, these fresh interpretations, full of flair and vitality, played on instruments that combine elements of brass and woodwind, bring the tunes and counterpoint to a fascinating new register. The Ferio Quartet plays with power, warmth, and dexterity. “Playing is of the highest level throughout.” (Classical Music) “Intensely musical performances… the artistry of the performances is beyond question.” (Gramophone) “The Ferio Quartet plays with a nimble technique, mature phrasing, exquisite and forceful dynamics, and excellent balance, blend, and teamwork.” (American Record Guide)

Apollo descends to earth and proposes marriage to Oebalus' daughter Melia. But when he goes to play discus with her brother Hyacinthus and his friend Zephyrus, a tragic accident occurs, after which nothing will ever be the same again... Classical Opera's series of Mozart's complete operas on Signum continues with the addition of Apollo et Hyacinthus, the second of his two stage works from 1767. The opera is sung in Latin, and is based on a colourful story from Ovid's Metamorphoses. Mozart was only eleven years old when he wrote this remarkable work, but the music is astonishingly accomplished, frequently anticipating the wonders of his maturity.

A 2021 GRAMMY Nominee for Best Orchestral Performance!

Pulitzer and Erasmus Prize-winning composer John Adams occupies a unique position in the world of American music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. Adams describes My Father Knew Charles Ives as “an homage and encomium to a composer whose influence on me has been huge.” Harmonielehre was a deliberate move by Adams to expand his musical language beyond Minimalism, keeping its energetic pulse but embracing the rich tonal resources of the past to create a work that has accrued an aura of timelessness. Six-time GRAMMY Award-winning conductor Giancarlo Guerrerois music director of the Nashville Symphony and the NFM Wroc?aw Philharmonic in Poland, as well as principal guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal. He has championed contemporary American music through numerous commissions, recordings and performances with the Nashville Symphony, presenting eleven world premieres of works by Michael Daugherty, Terry Riley, and others. As part of this commitment, he helped guide the creation of Nashville Symphony’s Composer Lab & Workshop initiative.

 

REVIEWS:

 

In point of fact, John Adams’ father did not know Charles Ives, but imagined that they had a good deal in common, and that was a springboard to a work that is unlike any other among Adams’ output. It’s not at all clear why My Father Knew Charles Ives has been so neglected. The work gets a detailed, sympathetic treatment here from Giancarlo Guerrero and the Nashville Symphony Orchestra. Guerrero and the Nashvillians have done a major service by reviving My Father Knew Charles Ives.

 

– AllMusicGuide.com (James Manheim)

 

Given the difference in ambiance and style between the two works, these brilliantly played and recorded performances might just make an ideal point of entry for those new to the composer.

 

 

– MusicWeb International

At long last our successful Reger Edition continues on its way. The critics have been more than enthusiastic about the previous releases, and Musik & Theater even stated: “These recordings number among the best currently available in the field of Reger’s organ music.” This month we are releasing Vol. 7, again with two albums in the best SS, and this time featuring Reger’s five easy-to-play Preludes and Fugues op. 56. Although the composer termed this composition “an organ work of small caliber” in a letter to the publisher Lauterbach & Kuhn, the critics reacted positively, and the organist and composer Robert Frenzel numbered its pieces, which form anything but a secondary work, “among the most poetic phenomena in the most recent organ literature.” And we absolutely have to agree with him. The generic combination of “Prelude and Fugue” is frequently assigned to the realm of so-called absolute music, but Reger’s op. 56 does not seem to belong to this world in which only the musical structure is of significance; instead, particularly the preludes, which mostly practice dynamic moderation – like many of the “pieces” from op. 59 and other works – are distinguished by a pronounced poetic character.

The Brodsky Quartet is joined by soprano Susana Cordón in the premiere recording of the chamber oratorio A Mortuis Resurgere by the contemporary Spanish composer Jorge Grundman (b. 1961). Featuring Mr. Grundman’s trademark contemplative harmonies and expressive writing, this work of remarkable accessibility tells the story of the Resurrection of Christ. This multi-faceted artist and humanitarian is also a professor of acoustics, a writer and co-founder of the Non Profit Music Chamber Orchestra.

“El ciego tañedor” or “the blind keyboardist”, Antonio de Cabezón was one of the most inspired masters of his day and a protégé at the court of King Philip II (whose favourite painting, reproduced on the cover of the booklet, came into his possession while Cabezón was with him in Brussels in 1555). Keyboard music was attaining a status equal to vocal polyphony at this time, and Cabezón’s sophisticated Tientos are at the forefront of a rapid rise in a new intensity of expression. Where the Tientos relate to vocal styles the Variations can frequently be traced to popular songs and dance tunes such as the Folía.

Norwegian soprano Mari Eriksmoen is undoubtedly a rising star at the moment, following successful appearances at the Opéra-Comique in Paris, Grand Théâtre de Genève, Oper Frankfurt, Komische Oper Berlin, and Teatro alla Scala in Milan. On the concert stage she has made recent important appearances with the Orchestre de Paris, Berliner Philharmoniker, Oslo Philharmonic, and Münchner Philharmoniker among others. Here she joins the Bergen Philharmonic and Edward Gardner for a powerful album of orchestral songs, coupling Britten’s Les Illuminations and Four French Songs with a selection of Cantaloube’s inimitable Songs of the Auvergne. Eriksmoen spent a year studying in Paris, and proves an effective and natural singer of the French language. As she mentions in her program note: ‘It is highly demanding to sing in French when it is not one’s native tongue, but I have always felt at home when singing in French and nurture an emotional attachment to the French language.’

REVIEWS:

One cannot can’t praise Eriksmoen enough for the accuracy of her singing, its tonal beauty, and her absorption in the text. There are running passages, exposed intervals, and those chromatic steps to contend with. She faces every challenge with ease.

-- Fanfare

In Britten’s Les illuminations, the generally belllike accuracy of Norwegian soprano Mari Eriksmoen’s singing is more than matched by the expressive truth of her interpretations. She is most beguiling when floating her voice weightlessly and with a serene joie de vivre in ‘Antique’, perfectly partnered by the lovely violin playing of the Bergen Philharmonic leader Melina Mandozzi.

-- BBC Music Magazine

Non-professional lovers of music ranged, in their mastery of the instruments, from amateurs to concert performers. So the instrumental fantasias were “molded” to the patrons’ specific requirements, and nourished a constantly growing market. The history of Pietro Morlacchi (1828-68) and Antonio Torriani (1829-1911) coincides with the history of the success of instrumental music genre in Italy. That these of the many published fantasias of the time survived, testify to their musical worth.

MAHLER Symphony No. 5 • James DePreist, cond; London SO • NAXOS 8.557990 (72: 43)


The Mahler symphonies have had a somewhat episodic history on Naxos: most of the recently completed cycle features Antoni Wit conducting either the Polish National Radio-TV Orchestra or the Warsaw National Philharmonic; but the recordings of the First, Seventh, and Ninth Symphonies were conducted by Michael Halász. Now, another Fifth appears, conducted by a distinguished American with the mighty LSO.


Whatever its provenance (and why look such an attractive gift horse in the mouth?), this is a sturdy, musically solid performance. The first movement is characterized by commanding fanfares and the steady tread of the funeral march. DePreist doesn’t linger over the latter, but he isn’t as hasty as Sir Roger Norrington in his view of the fanfares, either. One unusual gesture is the sudden ritenuto immediately after the eruption of the quicker tempo at the first Trio; this seems to suggest that the struggle is almost too much. The timpani introduction to the second Trio is muted, becoming almost an echo at the end of its phrase, an effect repeated at the end of the coda, where the muted trumpet, which echoes the opening fanfare, is almost inaudible—a very haunting effect, made that much more interesting by the final note, which is decisively sforzando.


The second movement is a convincing extension of the first, as the stormy opening gives way to the subdued echo of the funeral march. The two themes are convincingly alternated, the occasionally imploring character of the second theme suddenly giving way to optimism in the chorale that ends the development section; this is reinforced by its later D-Major variant, aptly described by Dr. Floros as “Vision of Paradise.” This performance amply demonstrates how apposite that characterization is, while the coda plunges the listener back into the maelstrom.


DePreist takes Mahler’s indication of nicht zu schnell to heart for the Scherzo, as a very expansive tempo (very similar to that of Michael Tilson Thomas in his new Fifth) produces music of geniality rather than robust jollity, and it is a bit short on vigor for a movement marked kräftig (the last minute is an exception, as the music dashes to the end). The LSO copes easily with the relaxed tempo, producing music of strength in addition to good humor. The sound production from Abbey Road Studios is clarity itself, allowing the wide variety of instrumental effects in this mammoth score to be heard while producing the necessary sonic punch when required. The soundstage is satisfyingly wide and deep, and on the whole this recording can stand comparison with most of the Mahler Fifths on the market. Fanfare ’s headnotes used to include the producer’s name, so I am happy to note here that the producer of this splendid-sounding recording is our own Michael Fine.


The Adagietto is decidedly old school, clocking in at 10:42; as with the MTT performance, this can work if one accepts that there are often conflicting feelings being voiced, and if, as is the case here, there is some flexibility in the tempo. The prominent harp assists in giving the illusion of movement in this otherwise timeless music. On the whole, DePreist makes a better case for this kind of interpretation than Tilson Thomas.


An echo of the amiability (and tempo) of the Scherzo is heard as DePreist ushers in the finale; the movement gains momentum as the rondo takes shape. The tempo marking Allegro giocoso , and the term Frisch, are utilized by Mahler to characterize this movement; “jolly” and “fresh” this interpretation certainly is, and the whole performance comes to an exhilarating close.


For a symphony as oft-recorded as the Mahler Fifth, there have been (surprisingly) few featuring this orchestra; I for one am grateful to Maestro DePreist and his crew for producing such a successful performance with one of the world’s premier Mahler orchestras. At the Naxos price, this is one of the Mahler bargains of the decade.


FANFARE: Christopher Abbot

In 2016 the Witold Lutoslawski Chamber Philharmonic in Lomza organized the educational campaign “Colors of Music” for the second time. It has been realized under the patronage of the Ministry of Culture and National Heritage. The campaign is interdisciplinary; as it combines visual arts and music of representatives of various periods. By developing musical-plastic imagination, the organizers wanted to make young receivers of art sensitive to its multidimensionality. The artists of the Philharmonic unraveled the mystery of the musical world, performing concerts enriched with a lecture, presentation of musical instruments, and recordings. An art competition addressed to the oldest kindergarten groups and pupils up to 11 years of age, educational centers in Lomza and its surroundings concluded those activities. The current album constitutes an integral element in the campaign Colors of Music. Its founders and organizers assume that appropriately presented classical music is a great tool for developing imagination, creativity, and sensitivity. The campaign pursues a continual objective of promoting culture in its universal character, particularly among young listeners, by means of experiencing music with many senses, as well as by the influence of music on aesthetic and emotional tones. This release in the campaign presents music for two flutes, performed by flutists Lukasz Dlugosz and Agata Kielar-Dlugosz.

Classical Music

Grigoriu (b. Moldavia, 1926) is one of the major Romanian composers in the period after Enescu. His vast output is little known outside his own country, although it includes oratorios, symphonies, cantatas, chamber music, film-scores, and much more. His musical roots reach back to Romanian folk-music and the modal melodies of ancient Byzantium.

There are many questions surrounding Johann Sebastian Bach’s ‘Six Solos for violin’, or the Sonatas and Partitas for solo violin, as they are usually called today. When did he compose them, and why, and for whom? In what circumstances were they performed? And why would a master of polyphony choose to write for a melody instrument with limited scope for polyphony or chords? We can only guess at the answers – which makes the works all the more fascinating. The legendary violinist George Enescu famously described the set as ‘the Himalayas of violinists’, but for more than 200 years they were primarily regarded as pedagogical exercises rather than compositions worthy of the concert hall. Felix Mendelssohn and Robert Schumann tried to popularize them by making versions with piano accompaniment, while Busoni did away with the violin altogether in his transcription of the famous Chaconne from Partita No. 2. But since Yehudi Menuhin made the first complete recording of the Sonatas and Partitas, between 1929 and 1936, they have become a staple during violin recitals, on disc and in concert. Fascinating performers and audiences alike with their architectural perfection as well as their emotional range, these are works that lend themselves to very different interpretations, and on this recording it is the Bach of Finnish violinist Jaakko Kuusisto we hear. Himself a composer – as well as violinist and conductor – Kuusisto remembers beginning to study individual movements from the set at the age of ten. The music has been with him ever since, and to him ‘no other works for the violin provide a higher challenge or greater beauty’.

REVIEW:

Kuusisto plays with an offhanded, technical nonchalance, as if there were neither any of the traditional expectations or technical hurdles to overcome. Everything sounds so organic and natural that listening becomes increasingly enjoyable. The musical detail can certainly be heard, yet Kuusisto does not force that conspicuously on the listener.

– Klassikheute.com (Germany)

What we know as ‘Handel’s Opus 3’ is most likely little more than a brazen attempt by the London publisher John Walsh to make some quick money. In 1715, Walsh had issued a pirated edition of Corelli’s 12 Concerti Grossi Opus 6 which proved an instant success and left him constantly looking for similar opportunities. Almost 20 years later, perhaps in the knowledge that the royal protection granted to Handel’s musical output was about to expire, Walsh assembled a set of six orchestral pieces for a wide range of instruments. He prefaced them with a wholly misleading title-page – based on Corelli’s style-defining collection – and advertised them as Handel’s ‘Opera Terza’. It is likely that Handel never took part in the selection and organization of the individual movements, although he may have been involved in the revisions made when a reprint was necessary a few years later. Selected from various sources, the six concertos certainly don’t form an organic cycle – in complete contrast to the future Op.?6 concerti grossi, which Handel carefully conceived as a set. The fact remains that Opus 3 contains some of Handel’s best-loved music, in instrumental combinations that are colorful and often unexpected – aspects that Martin Gester and his musicians in the Tasmanian period band Van Diemen’s Band make the most of.

REVIEW:

Handel's op. 3 collection is a test for any group: staying true to the letter & spirit of the score, while keeping the music sounding fresh and alive. Martin Gester and his Tasmanian group Van Diemen's Band have done exactly that, in this wonderful new album from BIS. There's plenty of fire burning here, but it's within the context of impressive musical discipline and lightly-worn Historically Informed Performance scholarship. BIS provides the kind of direct and transparent sound that allows Early Instruments to flourish. This is a highly recommended release!

-- Music for Several Instruments

Widely regarded as one of America’s pre-eminent living composers, Joan Tower, who is also a pianist, is particularly devoted to chamber music. Organic structures underpin her string quartets; there is ‘heat from within’ and radiance of texture in "Incandescent", her third quartet, virtuosic interplay in No. 4, "Angels", and fluid connections in "White Water", her fifth string quartet. Only the third composer – after Stravinsky and Copland – to be commissioned by the Dumbarton Oaks Foundation, Dumbarton Quintet pursues extremes of moods both romantically consonant and dissonant.

-----

REVIEW:

Premiere recordings of three quartets and a piano quintet, composed over a 10-year span and performed by two outstanding American quartets. The Fifth Quartet has an aquatic feel and flow, the music leading towards an exquisite, radiant end. The Piano Quintet is a characteristically dynamic and angular score, tempered by the piano's warmth and and an intriguing range of combined sounds.

– Gramophone

The Beethoven year is about to begin and the first contributions by various artists to the anniversary are already being published The focus will be on the evergreens that will attract the attention of the public As a versatile and extremely productive artist, Beethoven has also created a number of works that are virtually unknown today This extensive 9 album edition is dedicated exactly to these works and its tracklisting reads like a sparkling treasure chest Rarely heard arias in various languages, Contredanses, minuets, Ländlers the Piano Concerto No 0 music for a knight's ballet, fun loving and sometimes not entirely youth free canons Over 10 ½ hours full of works by Ludwig van Beethoven, which were written throughout his life and cast a new, unusual glance on his musical oeuvre and his perhaps sometimes not so serious character.

Polibio Fumagalli (1830-1900) was one of the most important exponents of nineteenth century Italian music. He held important posts in Milan, and as organ teacher at the Conservatory and organist of the S. Celso he was in close contact and collaboration with the famous organ builder Giuseppe Bernasconi, with whom he helped to develop the “symphonic” or “orchestra” organ, with its registers imitating orchestral instruments. This new recording presents two of Fumagalli’s organ sonatas, in classical/romantic style, as well as the complete cycle “Ascetica Musicale,” character pieces of great charm and lyricism, using the full potential of the “orchestra” organ. These works are played with great imagination by Italian organist Marco Ruggeri on two historical Bernasconi organs, built in 1885 and 1892.

Classical Music

Born in 1934, the Czech jazz composer Milan Dvořák, no relation to his better-known classical composer namesake, has been active since the 1960s leading big bands and swing ensembles and remains active today. This is the debut recording of his 45 Jazz Piano Etudes which combine transcriptions of popular songs with classical influences and features the pianist Milan Franěk.